Album Review Dead Man’s Hill – Born From the Black Cauldron
Artist: Dead Man’s Hill
Title: Born From the Black Cauldron
Label: Zazen Sounds, VisionBlack
Release date: February 10th, 2025
Country: Belgium
Format reviewed: High-quality digital recording
#AlbumReview Dead Man’s Hill – Born From the Black Cauldron via Zazen Sounds & VisionBlack by #Pegah
Dead Man’s Hill is a ritual dark ambient project by Belgian artist Bart Piette. His latest album, “Born From The Black Cauldron”, is steeped in mythologically infused themes and haunting soundscapes, guiding the listener into another realm perhaps the underworld. The cover art features a burning dandelion, a symbol of strength and resilience, intertwined with fire representing both creative and destructive energy. Against a dominant black background, subtle shapes of plants emerge, emphasizing a deep connection to nature.
This sonic journey begins with “Tei Der Gni” which feels like a fleeting glimpse of light in the darkness—perhaps within the underworld. Layers of sound emerge gradually, resembling the voices of wandering spirits, some whispering, others screaming. The voices and sounds we hear seem to belong to the beings of the underworld. As the track fades, so does that brief illumination, leaving everything once again swallowed by darkness. “Shaped by the Elements” is filled with these spectral voices, yet it also carries the sensation of something coming into existence like a birth shaped by natural elements. At times, it even feels as if someone is breathing. The howls of wolves echo in the distance, followed by a fading scream from far away. The atmosphere becomes even spookier and more mysterious as “Collecting Out of the Mirror” begins. Whispers intertwine with a wind-like sound, accompanied by a constant humming. It feels as if you’re gazing into a mirror when, suddenly, spirits emerge from within crossing over from another world. They hover above, whispering in an eerie chorus, until, gradually, they retreat back into the mirror, leaving behind an unsettling silence.
“Scentoxication” carries a more dynamic energy, driven by ceremonial drums and glossolalia, evoking the intensity of a ritual perhaps to emphasize on being affected by the atmosphere of the ritual. The flute introduces a wild, untamed element, reinforcing the connection to nature and deepening the track’s mystical and spiritual texture. The whispers persist in “Beneath the Gaping Eye of Twilight”, yet here, they feel different suggesting a transition, as if the darkness is slowly giving way to the first faint light of day. These whispers carry an air of anticipation, preparing for something new to emerge. Then, after a few moments of silence, a sudden burst of sound erupts ceremonial drums and a blaring horn, a call to attention, an announcement of a great arrival. The death lord, Arawn, steps forward. He places the lifeless corpses of fallen warriors into the black cauldron. Glossolalia rises once more whispered prayers swirling above the cauldron’s surface. The horn echoes again, harsh and commanding, and then, within the voices, something shifts. The dead, “Born from the Black Cauldron”, awaken silent, and without any memory of the past.
This album unfolds like a mythological tale, culminating in its final track. Arawn, mentioned earlier, is the god of death and the underworld in Celtic and Welsh mythology, as well as the king and ruler of the wild. “Born From the Black Cauldron” employs whispers, glossolalia, and a variety of instruments to create a rich, cinematic experience—immersing the listener in what feels like a mythological ritual. For those interested in ritual dark ambient and mythology, this album is highly recommended. It not only delivers an atmospheric journey but also evokes the essence of an ancient, otherworldly ceremony. 8.5
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8.5/10 To Greatness and Glory!
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